A Korean language, literature and culture in 20th century

Abbreviation process in Korean applies to both lexical and grammatical units (cf. Borowiak 2015). This article however focuses only on one type of the former, namely acronyms. The formations in question are created in the lingual process, which could be called acronymization and are a convenient means of expression widely used in various fields of contemporary civilization such as science and technology, economy and public life, media, marketing etc. Despite their undeniable popularity the subject of acronymology is given relatively little attention in relevant literature, which concentrates mainly on morpheme-based word-formation and thus downplays acronyms as being e.g. unpredictable ‘non-rule governed innovations’ (cf. Bauer 2001). The 20th century however, as Szadyko (1997: 127) points out, belongs to acronyms – that is why the subject definitely deserves more attention. The aim of this article is to identify, analyze and classify acronyms used in Korean. Abbreviations of this particular type, as this paper will attempt to show, although rarely and rather briefly discussed, are in fact extremely numerous in Korean language. Taking into consideration their number and variety the attempt to classify them according to origin, fields of usage, lexical meaning and familiarity, the method of formation, graphemic form and the type of founding constituents is made.

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Традиционные темы в эпическом репертуаре джангарчи Телтя Лиджиева

Монголоведение (Монгол судлал) ◽

10.22162/2500-1523-2020-4-668-678 ◽

2020 ◽

Vol 12 (4) ◽

pp. 668-678

Author(s):

Bayrta B. Mandzhieva ◽

Keyword(s):

20Th Century ◽

Compositional Techniques ◽

Formulaic Language ◽

Introductory Part ◽

The 1960S ◽

Language Literature ◽

Selection Of ◽

Research Institute ◽

A Performance

Introduction. The article examines traditional themes in the epic repertoire of jangarchi Teltya Lidzhiev, a most talented and original jangarchi, and a performer of songs of the 20th-century prominent rhapsode Eelyan Ovla. Materials. The recordings of Kalmyk folklore made by associates of the Kalmyk Research Institute of Language, Literature and History (present-day KalmSC RAS) during field expeditions in the 1960s – 1990s contain one by the famous jangarchi Teltya Lidzhiev. The recording was made by N. Ts. Bitkeev during a folklore research trip across districts of Kalmykia in the summer of 1970. Goals. At present, thanks to the preserved records of the epic repertoire of jangarchi Teltya Lidzhiev, there is an opportunity to explore the late tradition of the Jangar which existed in the second half of the 20th century. Results. The epic repertoire of Teltya Lidzhiev who was representing Eelyan Ovla’s school consists of an introductory part, a prologue (Kalm. orshl) and ten songs. Teltya Lidzhiev undoubtedly possessed a formulaic language, traditional compositional techniques that ensured the consistency of his narration. The storyteller had carefully elaborated all the stages of each theme and adopted the technique of drawing up formulaic turns and the formulas themselves, as well as compositional ones, to acquire a certain structured basis to build his narrative on. Teltya Lidzhiev’s songs comprise traditional themes of epic narration, such as selection of a hero, saddling of a horse, munitioning of the hero, departure, adversities of the path, arrival in borderlands, entering of the palace, searches, heroic duel, capture and branding, healing of the hero, return, feast. The examination of Teltya Lidzhiev’s songs shows that the traditional epic themes were firmly preserved in the jangarchi’s memory. But at the same time, it should be noted that each performance is unique: a jangarchi constructs his epic text and chooses one or another way of retransmission, the speed of clustering poems during a performance prompted the use of certain traditional formulas but one would certainly build his narrative according to a definite plan of his own. Thus, jangarchi is both a bearer of the tradition and an individual singer.

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The laboratory of translation of Korean poetry into Ukrainian: Kim Min-Jeong’s verse “For the first time... she started to feel”

Synopsis Text Context Media ◽

10.28925/2311-259x.2021.3.11 ◽

2021 ◽

Vol 27 (3) ◽

pp. 195-203

Author(s):

Andrii Ryzhkov

Keyword(s):

Original Work ◽

Comprehensive Analysis ◽

The Other ◽

Korean Language ◽

Korean Literature ◽

Self Reflection ◽

South Korean ◽

Korean Studies ◽

First Time ◽

Language Literature

This paper offers two versions of a poem by the contemporary South Korean poetess Kim Min-Jeong translated into Ukrainian. Both translations are accompanied by corresponding comments, making it possible for the reader to have a glimpse at the process of transformations that occur with the original work: its tempo, metrics, stylistic and expressive means, etc. To this end, the process of decision-making in terms of selecting linguistic devices and other resources stemmed from the translation of the verse “For the first time… she started to feel” is the object of this paper. The goal of the research is to demonstrate the logic underlying the corresponding decisions. At the same time, it should be noted that this paper is not aimed at providing a comprehensive analysis of all the aspects that may arise from translation of the original, but rather focuses on several examples. Given the steadfast development of Korean studies in Ukraine and due to the growing interest in Korean language, literature and culture, this study will hopefully be useful for translation classes of Korean literature into Ukrainian as a material for comparative analysis with the original in order to have a better look at possible forms and variants of shifts and transformations. Thus, the relevance of this analysis can be explained in terms of practical needs of Korean studies in Ukraine, whereas its novelty is apparent due to the lack of translated works, accompanied by comments. The poetic style of Kim Min-Jeong catches attention due to its frankness, criticism and straightforwardness, and since the poetess addresses completely non-lyrical and complicated topics. As a result, the study demonstrates the mechanisms employed by the translator by applying two different approaches. In particular, it demonstrates what happens to the pace, expressive and stylistic means, etc. On the other hand, the article assumes that there is no single correct method or form of translation. Therefore, the analysis invites to reflect upon the appropriateness and necessity of taking certain translation decisions and thus emphasizes the importance of the process of self-reflection when working with the original.

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